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Seven years on from the OP and still John Barry's rejected score for Goodbye Lover refuses to surface.Clearly stuck in rights hell but has anyone any info on what the problem is and whether it might be feasible one day?
Thanks for any info anyone can give....
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I assume all Barry scores have been looked into at some point. It's probably down to one or both of: no tapes and/or rights issues.
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The tapes are certainly there. What baffles me is that we're talking about a movie that tanked and has been forgotten, which in theory should make it easier in the legal territory to warrant a new CD release.
Maybe not.
Alex
I've been working on this for years, but licensor ambivalence is the only thing standing in the way. I will keep persisting though.
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The tapes are certainly there. What baffles me is that we're talking about a movie that tanked and has been forgotten, which in theory should make it easier in the legal territory to warrant a new CD release.
Maybe not.
Alex
I've been working on this for years, but licensor ambivalence is the only thing standing in the way. I will keep persisting though.
Thank you for your persistence Roger. Honestly, if it wasn't for the dedication of people like you, we'd have hardly anything of what we have now.
Cheers
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The tapes are certainly there. What baffles me is that we're talking about a movie that tanked and has been forgotten, which in theory should make it easier in the legal territory to warrant a new CD release.
Maybe not.
Alex
I've been working on this for years, but licensor ambivalence is the only thing standing in the way. I will keep persisting though.
Thank you for your persistence Roger. Honestly, if it wasn't for the dedication of people like you, we'd have hardly anything of what we have now.
Cheers[/endquote
Couldn't agree more with what you have said Stephen, thank you Roger!
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I started this thread 8 years ago and have all but given up on this release. So, it's good to know that Roger is on the case and is hanging in there. Many thanks.
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Still not understand estate logic.
Do they believe that in next 5-10 years labels will pay them more than today? I doubt in that for some reasons...
I think that if they will not work with labels which WANT to release Barry's music (especially if estate REALLY have tapes), this days are probably the last good time, when they can do it!
Perhaps they are thinking about donating and/or selling Barry's manuscripts to a reputed library? That's what happened with Elmer Bernstein's scores, and it has been a dream come true to researchers around the world.
Alex
I really doubt that. Back when Barry was alive and I was in correspondence with him (didn't last long), I mentioned that I'd seen a prestigious music professor saying he'd like to study some of Barry's scores. On this occasion, it was Mrs. Barry who replied and she very firmly said that John's scores are absolutely private and will never, ever be let out for anyone to use or study.
To those baffled by the logic of estates withholding gems, what you have to realise is that composers are often very critical of their own work and to manage their public image, they really only want the work they're proud of out there and they want the work they're not proud of to disappear.
To Barry, I'm sure he was proud of most of his work, but it's things like Out of Africa and Dances With Wolves that he wanted people to remember him by, not Raise The Titanic or Howard The Duck. If it won an Oscar, was attached to successful movie or was a big hit as music, that's what they'd want out. If it was attached to something that tanked, like Raise The Titanic, that's what they'd prefer everyone to forget.
Even Jerry Goldsmith positively wanted some of his music to never come out.
Cheers
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Posted: |
Aug 9, 2018 - 11:41 PM
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By: |
Alex Klein
(Member)
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I really doubt that. Back when Barry was alive and I was in correspondence with him (didn't last long), I mentioned that I'd seen a prestigious music professor saying he'd like to study some of Barry's scores. On this occasion, it was Mrs. Barry who replied and she very firmly said that John's scores are absolutely private and will never, ever be let out for anyone to use or study.
To those baffled by the logic of estates withholding gems, what you have to realise is that composers are often very critical of their own work and to manage their public image, they really only want the work they're proud of out there and they want the work they're not proud of to disappear.
To Barry, I'm sure he was proud of most of his work, but it's things like Out of Africa and Dances With Wolves that he wanted people to remember him by, not Raise The Titanic or Howard The Duck. If it won an Oscar, was attached to successful movie or was a big hit as music, that's what they'd want out. If it was attached to something that tanked, like Raise The Titanic, that's what they'd prefer everyone to forget.
Even Jerry Goldsmith positively wanted some of his music to never come out.
Cheers
It's still baffling, though, because even if Barry (or Laurie) doesn't want to be remembered for doing 'Howard the Duck', does that mean that the estate would be willing to get rid of the actual scores? What's the point in keeping them if nobody can see them?
I hate to bring this up, also, but Mrs. Barry won't live forever and she sure is sitting on a whole lot of scores that would contribute enormously to the study of film music if they are ever made available for study. She must be aware of that, at least!
Alex
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. 